If you came for anything other than wall-to-wall superlatives for the Royal Ballet’s A-team and Liam Scarlett’s superior production of Swan Lake then you’ll be disappointed with this review, because yet again, for the fourth time in six years, ballet heaven is delivered with a side of perfecti
Fresh from no fewer than 40 performances of Wayne Eagling’s Nutcracker (a production which now seems to thankfully be going into retirement) English National Ballet, are back less than a week later to round off their Coliseum season, this time it’s Mary Skeaping’s Giselle which they last perfo
It’s exactly four years since English National Ballet brought Christopher Wheeldon’s Cinderella to the Royal Albert Hall.
Perhaps it’s already clear, but this is a rather subdued triple bill to bring the 22/23 season to a close.
Ballet Black is now in its 21st season, Cassa Pancho’s company entering somewhat of a new era after the retirement of company favourite, Cira Robinson and the addition of some junior members to its ranks.
A visit from Leeds-based Northern Ballet every Spring at Sadler’s Wells is always a highlight of the dance calendar, and never more so when at their glittering best with their unique dance interpretation of F.
After a long, hard run of Nutcracker, both London’s premier ballet companies are providing somewhat of a Tchiakovsky exhibition with English National Ballet offering Swan Lake and now the Royal Ballet giving one of their signature works, The Sleeping Beauty, an extended run until June.
There’s not much to say about Wayne Ealing’s 2010 Nutcracker from English National Ballet that has not already been said.
Time for the annual treat that is an ENB mixed bill at Sadler’s Wells, on this occasion featuring a couple of lockdown greatest hits, and a bold new production of The Rite of Spring.
Ivan Putrov’s annual celebration of the male dancer returns to the Coliseum with a diverse programme of work, old and new.
A celebration of ZooNation and their greatest hits from the last 20 years was always going to pack a punch, but Kate Prince’s Company of charismatic hip-hop dancers can do wit, comedy, pathos and poignancy too.
Comprising over fifty Ukrainian refugee dancers, the United Ukrainian Ballet’s debut in London was always going to be a moving and courageous showing.
Save for COVID, German Cornejo and his company of Tango dancers have thrilled audiences with their sultry, authentic displays of the much loved Ballroom dance for countless seasons in London.
Cassa Pancho’s Ballet Black turned 20 last year and to mark this milestone they celebrated with a double bill of two works seen at the Barbican earlier this year and now touring; one an out and proud affirmation on their journey as a company and the second a tribute to their ancestry and heritage.
Five years since its premiere, Kenneth Tindall’s Casanova remains a distinctive and highly engaging addition to Northern Ballet’s repertoire.
With the closing months of Staatsballett Berlin’s 21/22 season turning its attention to some full length classics including Sleeping Beauty and Onegin, an alternative is offered in the form of George Balachine’s plotless ballet, Jewels.
Just under a year ago, English National Ballet debuted one of the first post-COVID programmes of new work entitled Reunion.
Some nights at Covent Garden feel heavy with a sense of occasion and this particular performance of Swan Lake, taking place a week after opening night, was certainly one of them.
The opening night for MacMillan’s Romeo and Juliet, a production much loved by the audiences of Covent Garden, saw another dubious opportunity for Artistic Director Kevin O’Hare to take to the Opera House stage and announce “significant changes” to the billed cast.
A little over a year ago, I attended a performance of Giselle from the Staatsballett Berlin whilst in the knowledge that the next day Corona restrictions would mean a premature end to the run.
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